1/ Today I want to talk abt an issue that *mostly* plagues SFF authors, but that also has a tendency to creep into character-driven lit fic and women's fic, too. Ready? Here it is: Too much backstory and/or world-building at the start of your book. Let's unpack...
2/ Regardless of genre, you'll tell me that the info you're delivering abt MC or world's history is essential to understanding the primary conflict. And what I'm going to tell you is, you're probably wrong.
3/ Conflict structures are a lot like themes, in the sense that we can frame them in very general terms: MC desires X. [Thing/Person] prevents MC from obtaining X. If MC fails to obtain X, [bad stuff]. That's a primary conflict, my friends. We don't need detail to understand it.
4/ Your book's conflict isn't simple -- I understand. But the FRAME in which that conflict is situated is likely less complex than you think. When you tell me I can't possibly understand the conflict w/o loads of backstory, I'm going to remind you about INCITING ACTION.
5/ Inciting action (IA) is The Thing That Precedes Conflict. IA can happen well before the opening scene of your book, or it can happen right as the action begins. Either way, it's an event often steeped in significant backstory. Think: Rhaegar & Lyanna's secret wedding.
6/ We probably need to understand the inciting action to extract maximum nuance from your plot, but chances are super-slim that we need all that understanding to get up-and-running on your primary conflict.
7/ Ask urself: In simplest possible terms, what is my primary conflict? Answer in single sentence: "MC wants X but can't get it because of Y," or "MC needs X to save Y, but Z is in the way." Focus on bringing THIS info forward at the outset of your novel. Save IA for later.
8/ While ur here: Don't forget to submit your application for @TheWorkConf! Only a few seats remain, so if ur ready to connect with agents (and me!), learn from the best editors in the biz, & have the best weekend of ur writing life, don't wait to apply. theworkconference.com
9/ Friends, this thread has taken off a year+ after I wrote it. If we’re not acquainted yet, hello! My feed is mostly books, writing advice, #firstlinefrenzy & tips from my editing work. I’ll be doing monthly giveaways in 2021 so Follow along to win critiques, books & more.
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3/ SFF:
Piranesi (Susanna Clarke)
A Deadly Education (@naominovik)
Fable (@adriennebooks) >> Namesake completes the duology March '21 and it's superb
The Midnight Bargain (@clpolk)
Winternight trilogy (@arden_katherine)
House of Earth and Blood (@SJMaas)
1/ There's a huge difference between "stuff happening" in your book and actual plot. I tweeted y'day about accumulation of language vs culmination of events, but I think we need to unpack this a little more. Nothing like a Saturday morning fireside chat to start the weekend...
2/ Plenty happens in the course of your day that doesn't change the plot of your life. Your morning routine, for instance -- not especially interesting if it's business as usual. WOW YOU MADE COFFEE AGAIN. Proud of you, champ. Also? No one cares.
3/ Like you, your characters have a norm. And while you might think it's important for us to see the mundane... you're probably wrong. Showing us the deviation from normalcy accomplishes the same thing: once we know what's different, we can infer what the norm would have been.